| Popis: |
The show Infidels (TV3, 2009–2011), broadcasted on the Catalan channel as well as online for three seasons, was anticipated as a sort of adaptation of American “feminine” shows such as Sex and the City (HBO, 1998–2004) or Desperate Housewives (ABC, 2004). However, once the first episodes were broadcasted, Infidels was rapidly recognized as an original production, for two reasons. Effectively, from limiting itself to transposing televised fiction from the United States on to a Barcelonian frame, the screenwriters succeeded in conceiving a “homemade” fiction of quality, faithful to the spirit of the TV3 channel by its anchoring in the recreation of a catalan context, identifiable as real and realistic by the audience. If the “nods” to the American shows cited above or to the British show Mistresses (BBC One, 2008–2010) are easily visible, they are generally limited to play on intertextuality. Beyond the originality and the “Catalanity” of Infidels, journalists and critics praised its profoundly innovative treatment of female figures and, more general, the new and profound reassessment of clichés and traditional roles accorded to women as well as female characters that populate the majority of televised series. While it is true that the five protagonists of the show have sexual and sentimental infidelity in common, as the episodes go on, the ontological quest that underlies and drives the diegesis becomes more and more clear: Paula, Lídia, Cruz, Joana, and Arlet are, in the end, just as unfaithful to traditional gender roles as to the model incarnated by the new “Eternal Feminine” of the mass media, and it is not only in this way that they are enabled to become faithful to themselves. |
